Video filter with black & white, sepia and vintage looks

There are 42 filters across seven families: black & white (B&W, Noir, Silver, Infrared, B&W Film 400, Soft B&W 125, Grainy 3200, B&W Chrome), warm tones (Sepia, Vintage, Faded, Sunset), film stocks (Kodachrome, Technicolor, Cinematic, Cross Process, Bleach Bypass, Teal & Orange), retro (VHS, Super 8, Polaroid, Lomo, Glitch, 2000s digicam, 1970s film), cool tones (Cold, Arctic, Moonlight), thermal & night vision (white hot, black hot, ironbow, Night vision, Security camera) and effects (Invert, Duotone, Matrix, CGA). Every filter has an adjustable intensity.

Yes. The Palette tab carries all six palettes the IBM CGA adapter actually had — palette 1 (cyan / magenta / white) and palette 0 (green / red / yellow), each in its bright and its dark version, plus the mode 5 cyan / red / white set — and Game Boy green and an amber monitor besides. A palette lays over any filter, not just the CGA one, and its dither and its pixel raster are separate sliders: turn both down and you get the four colors with none of the effects around them.

On the Color tab there is a "Keep one color" block: choose red and the frame turns black and white everywhere except the red areas. The "Hue spread" slider sets how far from red a shade can be and still count as red, and "Pick color from frame" lets you point an eyedropper at the exact object in your video. It works on top of any style and looks identical in the preview and in the downloaded file.

Yes — the "Thermal & night vision" family has four: black-and-white thermal (white hot), its inverted black-hot twin, a color version in the classic ironbow palette, and a green night-vision scope. It is a look, not a measurement: an ordinary camera does not record heat, so the filter reproduces what makes the picture recognizable — sensor softness, noise and vignetting.

Yes. On the fast hardware path the original audio track is copied into the output MP4 unchanged. Only the picture is restyled.

It removes keyframes on purpose. A video normally restarts from a complete picture every second or two; without those restarts, the motion of the frames that follow is applied to whatever was on screen before, so a scene bleeds into the next one in colored smears. It is the one filter here that damages the file deliberately — the effect is the damage, which is also why the result is unpredictable and worth previewing on a short section first.

It costs a generation. Color grading has to redraw every frame, so the export is a new encode rather than your original stream — visible on a clip that was already heavily compressed, invisible on a clean source. The practical advice is to filter once from the best copy you have, rather than filtering a file that has already been through a platform.

Yes. In the Camcorder block choose "90s camcorder" — a date with the weekday, a clock, a camera label, a running timecode and a battery gauge in the corner appear over the frame. The charge is a separate choice: full, half or running out, and the last one blinks the way a real camera does. "Film-camera date stamp" puts just the amber date in the corner. The captions are burnt into the exported file exactly as the preview shows them.

Open the Datamosh tab and raise “Dissolve the cuts” — the preview builds itself and shows the picture coming apart. “Smear” repeats the motion with no fresh picture under it. The effect lives on cuts, so it shows best on footage that changes shot; a clip with a single keyframe has nothing to dissolve, and the tool says so.